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Domestic Noir The New Face of 21st Century Crime Fiction

Aus der Reihe Crime Files

119,99 €

inkl. gesetzl. MwSt., Versandkostenfrei

Beschreibung

Produktdetails

Einband

Taschenbuch

Erscheinungsdatum

21.12.2018

Abbildungen

XVIII, 292 p. 2 illus.

Herausgeber

Laura Joyce + weitere

Verlag

Springer

Seitenzahl

292

Maße (L/B/H)

21/14,8/1,7 cm

Gewicht

406 g

Sprache

Englisch

ISBN

978-3-030-09884-1

Beschreibung

Portrait


Laura Joyce
is Lecturer in Creative Writing at the University of East Anglia, UK. Her research focuses on representations of gendered, sexual and intimate violence. She has published two crime novels:
The Museum of Atheism
(2012) and
The Luminol Reels
(2014). Her forthcoming critical books are
Luminol Theory
 and
Deadly Landscapes
.



Henry Sutton
is Senior Lecturer in Creative Writing at the University of East Anglia, UK, and Director of the new Creative Writing MA in Crime Fiction. He is the author of 10 novels, most recently
Time to Win
(2017) under the pseudonym Harry Brett. Previous novels include
My Criminal World
(2013),
Get Me Out of Here
(2010) and
Kids’ Stuff
(2003). 

Produktdetails

Einband

Taschenbuch

Erscheinungsdatum

21.12.2018

Abbildungen

XVIII, 292 p. 2 illus.

Herausgeber

Verlag

Springer

Seitenzahl

292

Maße (L/B/H)

21/14,8/1,7 cm

Gewicht

406 g

Sprache

Englisch

ISBN

978-3-030-09884-1

Herstelleradresse

Springer-Verlag GmbH
Tiergartenstr. 17
69121 Heidelberg
DE

Email: ProductSafety@springernature.com

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  • Produktbild: Domestic Noir
  • Produktbild: Domestic Noir
  • 1 Introduction to Domestic Noir Laura Joyce.- Part I The Origins of Domestic Noir .- 2 The Literary Antecedents of Domestic Noir Fiona Peters.- 3 Hollywood and the Trailblazers of Domestic Noir:The Case of Vera Caspary’s Laura (1943) Stefania Ciocia.- Part II The Influences of Gillian Flynn’s Gone Girl .- 4 Gone Genre: How The Academy Came Running And Discovered Nothing Was As It Seemed Henry Sutton.- 5 From Cool Girl to Dead Girl: Gone Girl and the Allure of Female Victimhood Eva Burke.- Part III Gendered, Sexual, and Intimate Violence in DomesticNoir .- 6 “How Much Do You Want to Pay for This Beauty?” Domestic Noir and the Active Turn in Feminist Crime Fiction  Emma V. Miller.- 7 Teenage Kicks: Performance and Postfeminismin Domestic Noir  Leigh Redhead.- 8 The Violent Mother in Fact and Fiction Nicoletta Di Ciolla and Anna Pasolini.- Part IV Home as a Site of Violence .- 9 “[T]he People that Should Have Lived Here”: Haunting,the Economy, and Home in Tana French’s Broken Harbour Shelley Ingram and Willow G. Mullins.- 10 The Subversion of the Male Tradition in Crime Fiction: Liane Moriarty’s Little Lies Elena Avanzas Álvarez.- 11 Domestic Noir and the US Cozy as Responsesto the Threatened Home Diane Waters and Heather Worthington.- 12 The House and the Hallucination in Tana French’s New Irish Gothic Rosemary Erickson Johnsen13 Crime, the Domestic, and Social Commentary in Pierre Lemaitre’s Thriller Andrea Hynynen.- 14 Carmen’s Final Problem: Contesting Crime Fiction and Gender Roles in Marcela Serrano’s Nuestra Señora de la Soledad Patricia Catoira